Dotie dreams of marrying a millionaire so that she can live 'the life'. Buzz, her boyfriend, however is not rich as he is a salesman for a housing development. He proposes and Dotie accepts... See full summary »
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Fred M. Wilcox
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S. Sylvan Simon
Dotie dreams of marrying a millionaire so that she can live 'the life'. Buzz, her boyfriend, however is not rich as he is a salesman for a housing development. He proposes and Dotie accepts. Dotie next meets Pete, who she thinks is rich, but she soon finds out that he is just a boat mechanic. They have fun on their date and Pete proposes and Dotie accepts. Then Dotie meets Neil Patterson who is rich. They go to Mexico on his yacht and have fun on their date. Neil proposes and Dotie accepts. Now she has to choose. Written by
Tony Fontana <firstname.lastname@example.org>
According to director Mitchell Leisen, since this was the last film made at the RKO studio, a wrecking crew followed him around during shooting and, every time he wrapped a scene, the foreman of the wrecking crew asked him if he was absolutely finished with that set and wouldn't be needing it again. If Leisen said yes, the foreman called his crew in and they demolished the set as soon as Leisen was done with it. See more »
I saw this one at a theater in Westwood, California during its initial release and hadn't remembered much about it except for the lilting title song performed by the Hi-Lo's (the very best of the male singing quartets of that era) and the lively "Balboa" dance number with a flotilla of dancers splashing through the water's edge on a partially flooded soundstage setting.
Turner Classic Movies showed it earlier today and, oh my!, what a tremendous waste of the various talents involved. Almost everyone in the cast, except for Cliff Robertson, whom I've always found to be close to terminally bland, is criminally underused. The Newport/Balboa Island setting for most of the action isn't capitalized on, except for the title sequence. The production numbers are almost all sub-par, not coming close to the norm in Jane Powell's M-G-M extravaganzas. The treatment of Mexican nationals and American Indians is typical of 1950s all-white heedlessness. And the script is about as silly as they come by any standard, with Jane's final choice of her three suitors (cued by that "Pink Cloud Feeling") being the fadeout disappointment.
Gower Champion's ability to get a troupe of talented dancers into showing some real razzle-dazzle is best showcased in the "Balboa" number and Nelson Riddle's arrangements almost redeem the surprisingly lackluster songs by the usually reliable Ralph Martin and Hugh Blane (who weren't responsible for the listenable title song). All in all, if RKO Radio Pictures weren't already moribund, this one was sure to provide the final nail in its coffin.
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